DOCSLIB.ORG

LEAD TEXT for PLEDGE and LINER NOTES for BOOKLET With

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
LEAD TEXT for PLEDGE and LINER NOTES for BOOKLET With LEAD TEXT FOR PLEDGE AND LINER NOTES FOR BOOKLET With the distinct ethnic-driven sound of Deep Forest, Eric Mouquet belongs to the few unique pioneers of electronic music. His highly recognizable sounds defined the concept of world music and shaped the all-new sound of ethnic-electronica. Since the very first album of Deep Forest, Eric Mouquet loved using and exploring samples: “I experimented a lot with parts of sounds, songs and voices. This technique contributes the heart and soul to the very own sound of Deep Forest.” Deep Forests’ Signature-Anthem “Sweet Lullaby” instantly opened the world stage for the band. Their associated first album became a huge success and gained gold, platinum or double-platinum status in numerous countries like Australia, France, Germany, Great Britain, Japan or the United States. In 1995 Deep Forest won the prestigious Grammy Award for their album Boheme. They were the first French artists to win a Grammy Award and to this day, they only share this honour with Daft Punk. Over the last 20 years Deep Forest released numerous highly regarded albums including exciting collaborations with Peter Gabriel, Josh Groban, Joe Zawinuls’ Syndicate, Paco Sery, Rahul Sharma, Lokua Kanza and many more. Deep Forests last releases include Deep Brasil, Deep Africa and Deep India where Eric Mouquet explores the unique musical expressions of some exciting cultures. With his new album “Evo Devo” Eric Mouquet has gone even further – and nevertheless simultaneously back to the “bohemian feel” of his early works. His tonal craftsmanship has developed into an own artistic language. Every track explores a distinct emotion. You can almost feel and follow Eric’s inner motivations and share his musical journey to the frontiers of contemporary electronic music and beyond. QUOTE FROM ERIC “Composing a new album is always something special and quite a magical process. I compose and experiment in the studio for months, crafting sounds, taking notes, exploring new machines, playing, improvising and finally letting the music evolve without any pre- conceived idea. One day without any special reason, everything starts to make sense, the different ideas gather in a logical form and there it is: the finished, brand-new album. When I started this one, I did not imagine, that the music finally could lead me to all these songs. Step by step I realized how this album was related to the Boheme-Deep-Forest-Feel and at the same time was so deeply anchored in the up-to-date electronic music scene. Deep Forest is in constant evolution, persistently digging, exploring the roots of the past albums to arrange and develop new sounds and musical adventures. The concept of Evo-Devo, which is based on studies of the process of evolution and the ability of nature to create new forms and structures, is part of my musical approach. Starting from a single sine waveform to create any kind of sound, based on the broad heritage of the Deep Forest influences, make me feel like these scientists trying to understand the secret of life...” - Eric Mouquet WHAT ABOUT EVO-DEVO? Evo-Devo is one of the fastest growing current trends in evolutionary biology. Evo-Devo compares the developmental processes of different organisms to determine the ancestral relationship between them, and to discover how developmental processes evolved. Evo- Devo demonstrates that evolution alters developmental processes to create new and novel structures from the old gene networks. Produced by Eric Mouquet 2015 Recorded at EMM Studio France by Eric Mouquet 2015 Mastered at EMM Studio France by Eric Mouquet/Remy Pinault 2015 © 2015 Eric Mouquet by YEAA Publishing All rights reserved. Used by permission. TRACK-BY-TRACK 01: Simply Done 3:09 Music Eric Mouquet/Oyme. Published by YEAA Publishing featuring Oyme on vocals Oyme is one of the most outstanding ethno-bands of Russia. I met them at a festival in Moscow. They sent me some vocal tracks to play with. Listening to the rare Mordovian polyphony in the languages of Moksha and Erzya performed by Oyme, their distinct style and harmonies, I got the idea of recreating the atmosphere of Deep Forests Grammy Award winning album “Boheme”. 02: Stutter Dream 3:59 Music Eric Mouquet. Published by YEAA Publishing featuring Lyonel Bauchet on Buchla I like to experiment with the pace of a song. Nowadays dance music seems to be stuck in the 4-to-the-beat schematic, but there is so much more to rhythm than a straight 4/4. Even on danceable tracks you could add some polyrhythmic groove. So in the middle of this track I composed a piano melody based on a polyrhythmic pattern 6/4 and 7/4 at the same time on both hands. Some fun to play... The amazing Buchla 200e patched by Lyonel Bauchet brings some spices to the track. 03: B-Vatar 3:27 Music Eric Mouquet. Published by YEAA Publishing featuring Lyonel Bauchet on Buchla Originally, I recorded this piano-improvisation just for fun. It was inspired by the music of German composer and musician Nils Frahm. The delay I applied to the instrument produces a sequence with which I play. Further along analogue synths enrich the pattern by repeating them at different intervals. I close with a simple sequence played with a fat analogue bass sound on the Oberheim OB-Mx . The title of the track is B-Vatar because A-Vatar was already taken… 04: Oyme's Song 5:14 Music Eric Mouquet/Oyme. Published by YEAA Publishing featuring Oyme on vocals Joe Zawinul is one of my heroes in musical terms. Particularly his approach to not using a synthesizer as a piano or organ, but as a new instrument. He used to say “The synthesizer is an equalizer to reveal where the musician is at...". This track is a tribute to Joe: It starts off with a melodica theme as a question, then the answering quotes of Oyme and then the synthetic voice that completes the circle. The harmonies are again very "Bohemian", probably inspired by the timbre of Oyme . I then played a solo, a modest tribute to Joe... The title ends with the melody played on melodica in a very “frenchie” mood. You can feel yourself almost under the bridges in Paris... 05: Somewhere 4:40 Music Eric Mouquet. Published by YEAA Publishing featuring Paco Sery on drums, featuring Eugene Mishustin (voice narration) and Ilya Truskovsky (voice narration design) I love Skrillex! The first time I heard him, I thought these could be Deep Forest samples. It is not so much the sound itself, but rather how Skrillex played with these sample tips. I was told that he once mentioned Deep Forest in an interview. I'm not sure, but anyway, I feel a connection, a common approach in the treatment of samples. In this track, which begins with a vocal-nod to the first Deep Forest album (“Somewhere, deep in the jungle...”), I had fun with some samples and dub sounds. I love it... 06: Happy Tribe 3:50 Music Eric Mouquet. Published by YEAA Publishing I have always been fascinated by the hymns sung in stadiums: Different rhythms and tones, different timing, all of that ended up giving an overwhelming clamor, roar, outcry. I recorded all these voices from various venues and then I began to re-organize them into a unique melody. The sources are many and I think with all the editing work and reconstruction you listen to more than 100 000 people singing this melody ... Totally virtual! 07: Tibet 4:52 Music Eric Mouquet. Published by YEAA Publishing featuring Paco Sery on drums In this track, it is the spirit of the Himalayas that inspired me: These Tibetan horns and analog synths to respond evoking the grandeur and magic of this region. The powerful drums are played by Paco Sery. Paco is an exceptional musician with a boundless creativity, everything becomes music in his hands. Joe Zawinul once said, Paco is the best drummer in the world. He was not wrong. 08: Singing with the birds 3:59 Music Eric Mouquet. Published by YEAA Publishing Olivier Messiaen once wrote different pieces of music based on the birds singing. I always found this idea fascinating. So I started to record some birds in the nature. One day while working in the studio, I began to imagine a dialogue between the synth and the birds. After a lot of time experimenting with the idea, this track came to life. 09: Blue Story 5:15 Music Eric Mouquet. Published by YEAA Publishing featuring Lyonel Bauchet on Buchla Again a petit melodica melody in this track and a simple piano theme. It is another homage to “Boheme” but this time instead of using a Bulgarian choir I turned an African voice into a balcanic feel. The meaning of this? In Music, everything is possible. There are no frontiers for a voice. 10: Dead Forest 3:31 Music Eric Mouquet. Published by YEAA Publishing featuring Lyonel Bauchet on Buchla I was inspired by a time-lapse video of a forest season cycle, starting from winter to spring, summer to autumn and then winter in an infinite loop. A stereo synth-bass sequence is the origin of this track. Stereo bass is not really usual and generally a producer will avoid it, but after all, why not? Then I asked my friend Lyonel Bauchet to add some sequences from the Buchla 200e. Giving to the track a hypnotic evolving electronic loop. He perfectly mastered his huge modular synth. 11: Continuum'song Music Eric Mouquet. Published by YEAA Publishing featuring Eugene Mishustin Strings Arrangements It started with an improvisation on the Continuum just before dinner.
Load more

Recommended publications
  • A Sweet Lullaby for World Music
    A Sweet Lullaby for World Music Steven Feld T o begin, the music globalization commonplaces that are most broadly circu- lating in Western intellectual discourse as actualities or immediate predic- tions at the end of the twentieth century: 1. Music’s deep connection to social identities has been distinctively intensified by globalization. This intensification is due to the ways cultural separation and social exchange are mutually accelerated by transnational flows of technology, media, and popular culture. The result is that musical identities and styles are more visibly transient, more audibly in states of constant fission and fusion than ever before. 2. Our era is increasingly dominated by fantasies and realizations of sonic virtuality. Not only does contemporary technology make all musical worlds actually or potentially transportable and hearable in all others, but this transportability is something fewer and fewer people take in any way to be remarkable. As sonic virtuality is increasingly naturalized, everyone’s musical world will be felt and experienced as both more definite and more vague, specific yet blurred, particular but general, in place and in motion. 3. It has taken only one hundred years for sound recording technologies to amplify sonic exchange to a point that overwhelms prior and contiguous his- Thanks to Afunakwa, Deep Forest, and Jan Garbarek for the unending mix of celebration and anxiety in their recordings of Rorogwela; to Marit Lie, Odd Are Berkaak, and Hugo Zemp for their friendship, comments, and provision of documents; to Arjun Appadurai, Veit Erlmann, Lisa Hender- son, Alison Leitch, David Samuels, Tim Taylor, and Public Culture’s readers for suggestions; and to Spring 1999 colloquia audiences at Mt.
    [Show full text]
  • Planet Earth R Eco.R Din Gs
    $4.95 (U.S.), $5.95 (CAN.), £3.95 (U.K.) IN THE NEWS ******** 3 -DIGIT 908 1B)WCCVR 0685 000 New Gallup Charts Tap 1GEE4EM740M09907411 002 BI MAR 2396 1 03 MON1 Y GREENLY U.K. Indie Dealers ELM AVE APT A 3740 PAGE LONG BEACH, CA 90807 -3402 8 Gangsta Lyric Ratings Discussed At Senate Hearing On Rap PAGE 10 THE INTERNATIONAL NEWSWEEKLY OF MUSIC, VIDEO AND HOME ENTERTAINMENT MARCH 5, 1994 ADVERTISEMENTS MVG's Clawfinger Grammy Nominations Spur Publicity Blitz Digs Into Europe Labels Get Aggressive With Pre Award Ads BY THOM DUFFY BY DEBORAH RUSSELL Clapton, and k.d. lang experienced draw some visibility to your artists." major sales surges following Gram- A &M launched a major television STOCKHOLM -The musical LOS ANGELES -As the impact of my wins, but labels aren't waiting for advertising campaign in late Febru- rage of Clawfinger, a rock-rap the Grammys on record sales has be- the trophies anymore. Several compa- ary to promote Sting's "Ten Sum- band hailing from Sweden, has come more evident nies have kicked off aggressive ad- moner's Tales," (Continued on page 88) in recent years, vertising and promotional campaigns which first ap- nominations, as touting their nominees for the March peared on The Bill- well as victories, 1 awards. board 200 nearly a have become valu- Says A &M senior VP of sales and year ago. Sting is able marketing distribution Richie Gallo, "It would the top- nominated evil oplriin tools for record seem that people are being more ag- artist in the 36th companies.
    [Show full text]
  • Esej SLATKA USPAVANKA ZA WORLD MUSIC Autor
    Esej SLATKA USPAVANKA ZA WORLD MUSIC Autor: Steven Feld Naslov originala: A Sweet Lullaby for World Music Izvor: Public Culture, Volume 12, Number 1, zima 2000, str. 145-171 Prevod i adaptacija: Aleksa Golijanin Ako su 1990-e stvorile svet potroša ča sve upu ćenijih u muzi čke grupe tako razli čite po istoriji, mestu porekla i stilu, onda je to bila posledica velike rekonfiguracije na čina na koji je muzi čki globus bio mentorisan, sniman, prodavan, reklamiran i promovisan. World music više nije bila u domenu akademske dokumentacije i promocije tradicija. Umesto toga, fraza se naglo proširila javnom sferom, pre i iznad svega ozna čavaju ći novu globalnu industriju, fokusiranu na tržišno pozicioniranje plesnih etniciteta i egzoti čnih razli čitosti na svetskoj mapi zadovoljstva i robe. Do kraja veka, fraza world music je po čela da ozna čava „mali svet sa ogromnim brojem mogu ćnosti: soni čne izlete na dohvat CD plejera“ Po čnimo s nekim opštim mestima o muzi čkoj globalizaciji, koja, kao teme ili neposredne prognoze za kraj dvadesetog veka, kruže u zapadnja čkom intelektualnom diskursu. 1. Duboka povezanost muzike i društvenih identiteta jasno je intenzivirana globalizacijom. Taj novi intenzitet je posledica načina na koji se kulturno razdvajanje i društvena razmena uzajamno ubrzavaju kroz transnacionalni protok tehnologije, medija i popularne kulture. Posledica toga je da muzi čki stilovi postaju sve vidljivije i čujnije prolazni, u stanju stalne fisije u fuzije, kao nikada pre. 2. Našom epohom sve više dominiraju fantazije i realizacije soni čne virtualnosti. Savremena tehnologija čini da se svaki muzi čki svet može stvarno ili potencijalno preneti u bilo koji drugi, ali tu prenosivost sve manje ljudi opaža kao nešto izuzetno.
    [Show full text]
  • The/An Ethnomusicologist and the Record Business Author(S): Hugo Zemp Source: Yearbook for Traditional Music, Vol
    The/An Ethnomusicologist and the Record Business Author(s): Hugo Zemp Source: Yearbook for Traditional Music, Vol. 28 (1996), pp. 36-56 Published by: International Council for Traditional Music Stable URL: http://www.jstor.org/stable/767806 . Accessed: 18/06/2013 09:38 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. International Council for Traditional Music is collaborating with JSTOR to digitize, preserve and extend access to Yearbook for Traditional Music. http://www.jstor.org This content downloaded from 201.37.76.251 on Tue, 18 Jun 2013 09:38:28 AM All use subject to JSTOR Terms and Conditions THE/AN ETHNOMUSICOLOGIST AND THE RECORD BUSINESS1 byHugo Zemp $30,000 to license one minute of Rajasthani music for an American insurance company's televisioncommercial. Sampling by two French musi- cians of a Solomon Islands lullaby, which, mixed with pop rhythmsand computerized chords, results in an international success with millions of dollars in profitthrough CD sales and income fromtelevision commercials in France and the U.S.A. (and perhaps other countries). Note by note borrowingof another Solomon Islands lullaby (these lullabies seem to be a hit!) by a well-knownFrench composer, jazz musician and interpreterof classical and contemporarymusic who declared the composition as his own.
    [Show full text]
  • Płyty CD Z Muzyką
    1 WYKONAWCA/KOMPOZYTOR TYTUŁ CZAS 100 ESSENTIAL POWER BALLADS 1 ok.69 min. 100 ESSENTIAL POWER BALLADS 2 ok.66 min. 100 ESSENTIAL POWER BALLADS 3 ok.77 min. 100 ESSENTIAL POWER BALLADS 4 ok.65 min. 100 ESSENTIAL POWER BALLADS 5 ok.73 min. 100 ESSENTIAL POWER BALLADS 6 ok.73 min. 100 LAT FILHARMONII W WARSZAWIE ok.68 min. 16 FILM AND TV HITS ok.62 min. 2 CELLOS Celloverse ok.48 min. 2 CELLOS In2ition ok.47 min. 2 CELLOS 2 Cellos ok.43 min. 1994 PREVIEW DISC Składanka z muzyką klasyczną ok.75 min. 20 BRAVO HITS 1 ok.74 min. 20 BRAVO HITS 2 ok.78 min. 20 BRAVO HITS 3 ok.77 min. 20 BRAVO HITS 4 ok.77 min 20 BRAVO HITS 5 ok.74 min. 20 TOP DANCE HITS ok.71 min. 200 % DANCE HITS ok.72 min. 2019 NEW YEAR’S CONCERT CD 1 ok.56 min. CD 2 ok.54 min. 3 TENORS AT CHRISTMAS ok.61 min. 30 LAT TELEEXPRESSU CD 1 ok.78 min. CD 2 ok.73 min. 300 % HITS OF HAPPY NEW YEAR ‘97 ok.63 min. 500 % HITS OF SUNSHINE HOLIDAYS ok.71 min. 600 % HITS OF 1997 ok.62 min 70 LAT EMPIK : MUZYKA FILMOWA CD 1 ok.60 min. CD 2 ok.76 min. 700 % HITS OF ... CARNIVAL’98 ok.69 min. 80’ S COLLECTION : 1984 CD 1 ok.47 min. CD 2 ok.50 min. 800 % OF NEW DANCE HITS ok.70 min 900 % OF NEW DANCE HITS ok.71 min. A AALIYAH I Care 4 U ok.68 min.
    [Show full text]
  • Vol. 40, No. 2 June 2011 Journal of the International Planetarium Society
    Vol. 40, No. 2 June 2011 Journal of the International Planetarium Society Interpreting cosmology through dance Page 36 Articles June 2011 Vol. 40 No. 2 8 Boston: Reinventing a planetarium David G. Rabkin Executive Editor 12 Found: One solution to social responsibility Sharon Shanks Irlaine de Alvarenga Ward Beecher Planetarium 14 Space Ship Planetarium: A New Marketing Frame for Youngstown State University One University Plaza Digital Planetariums Jim Sweitzer Youngstown, Ohio 44555 USA 18 Remembering Nobel Laureate S. Chandrasekhar +1 330-941-3619 Suhas B. Naik-Satam [email protected] 20 The Western Alliance Conference is “Waitin’ on you in Texas! Fred L. Chavez Advertising Coordinator 22 Behind the scenes of our favorite listserve Dr. Dale Smith, Interim Coordinator (See Publications Committee on page 3) Steve Tidey Membership Individual: $65 one year; $100 two years Institutional: $250 first year; $125 annual renewal Columns Library Subscriptions: $45 one year; $80 two years 48 Book Reviews ...................................April S. Whitt All amounts in US currency 54 Calendar of Events ..............................Loris Ramponi Direct membership requests and changes of 26 Educational Horizons ......................... Jack L. Northrup address to the Treasurer/Membership Chairman 4 In Front of the Console ..........................Sharon Shanks 31 IMERSA News .....................................Judith Rubin Back Issues of the Planetarian 35 International News ............................... Lars Broman IPS Back Publications
    [Show full text]
  • WIPO IGC Folklore Seminar Roundtable 1. the Cross-Border
    WIPO IGC Folklore Seminar Roundtable 1. The Cross-Border Protection of Intellectual Property, and its Relevance for the Protection of Traditional Knowledge and Traditional Cultural Expressions „Freedom Cry - Cross border IP Protection and Folk Music”1 Respondent: Peter Munkacsi June 23 2015 Geneva [Introduction part] Following Professor Frankel and Professor Bagley’s excellent presentations I would like to focus our attention on expressions of folklore, in particular the potential aspects of the illicit use of the rich traditional music of the small cultural communities as for example the Hungarian Roma community in mainstream music industry activities. Hungarian Gypsy (Roma) music is vibrant, passionate and brimming with colour, its songs reflect the hardships of daily life. My response reflects a pending case in US, namely in December 2014 Beyoncé was sued by a Hungarian folk singer for using her content in her song “Drunk in Love” which features Jay Z without her permission. The internationally acclaimed Hungarian Roma singer Mónika Juhász Miczura, known as Mitsou, says that Beyoncé recorded her voice in 1995 while Mitsou was singing the traditional folk song “Bajba, Bajba Pelem,’’ which she learned from her grandmother. Mitsou’s voice was sampled and digitally manipulated without her permission for Beyoncé’s Grammy-awarded “Drunk in Love”. The song appears on Beyoncé’s self-titled 2013 album, which has sold more than 5m copies worldwide. The song itself has also been purchased more than 1.6m times in the US alone. The case is still pending, however it shows similarities to the so called “Freedom Cry”-case 20 years ago which gives me an opportunity to raise some further issues.
    [Show full text]
  • Deep Forest Made in Japan (The Best of Deep Forest) Mp3, Flac, Wma
    Deep Forest Made In Japan (The Best Of Deep Forest) mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: Made In Japan (The Best Of Deep Forest) Country: Argentina Released: 1999 Style: New Age, Tribal, Downtempo, Synth-pop MP3 version RAR size: 1683 mb FLAC version RAR size: 1604 mb WMA version RAR size: 1364 mb Rating: 4.7 Votes: 836 Other Formats: WMA AAC MP2 XM VQF AC3 AA Tracklist 1 Ekue Ekue 5:17 2 Green And Blue 6:00 3 Deep Weather 6:19 4 Bohemian Ballet 6:15 5 Deep Folk Song 2:25 6 Freedom Cry 4:06 7 Cafe Europa 4:47 8 Forest Power 6:07 9 Hunting 6:37 10 Forest Hymn 5:23 11 Sweet Lullaby 6:22 12 Madazulu 4:57 Companies, etc. Record Company – Sony Music Entertainment (Argentina) S.A. Phonographic Copyright (p) – Sony Music Entertainment (France) S.A. Copyright (c) – Sony Music Entertainment (France) S.A. Pressed By – Laser Disc Argentina – 12323 Credits Bass – Didier Cresson Composed By – Eric Mouquet, Michel Sanchez Drums – Neil Conti Keyboards – Paolo Damanti Keyboards, Vocoder, Electronic Drums [Zendrum] – Eric Mouquet Percussion – Fred Savinien-Caprais* Recorded By – Yoshiyasu Kumada Vocals – Gabrielle Raharimalala*, Gino Ceccarelli, Monique Rasoanirina Barcode and Other Identifiers Barcode: 5 099749 463622 Matrix / Runout: LASER DISC (101/3) -12323- SONY 2-494636 Mastering SID Code: IFPI L701 Mould SID Code: ifpi 1R06 Other versions Category Artist Title (Format) Label Category Country Year Deep Made In Japan SAN 494636 2 Saint George SAN 494636 2 Europe 1999 Forest (CD, Album) Made In Japan Saint George SAN 494636
    [Show full text]
  • Deep Forest Album Deep Forest Download Deep Forest Album Deep Forest Download
    deep forest album deep forest download Deep forest album deep forest download. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 66a1959cebc2f162 • Your IP : 188.246.226.140 • Performance & security by Cloudflare. Deep Forest. Deep Forest is a musical group consisting of two French musicians, Michel Sanchez and Eric Mouquet. They compose a new kind of world music, sometimes called ethnic electronica, mixing ethnic with electronic sounds and dance beats or chillout beats. Their sound has been described as an "ethno-introspective ambient world music". They were nominated for a Grammy Award in 1994 for Best World Music Album, and in 1995 they won the Award for the album Boheme. The group also became World Music Awards Winner - French group with the highest 1995 world sales. Their albums have sold over 10 million copies. Michel Sanchez came up with the idea of mixing Baka Pygmy chants with modern music after hearing on-site recordings of these tribes.
    [Show full text]
  • Turkish World Music: Multiple Fusions and Authenticities
    TURKISH WORLD MUSIC: MULTIPLE FUSIONS AND AUTHENTICITIES A THESIS SUBMITTED TO THE GRADUATE SCHOOL OF SOCIAL SCIENCES OF MIDDLE EAST TECHNICAL UNIVERSITY BY KORAY DEĞİRMENCİ IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THE DEPARTMENT OF SOCIOLOGY SEPTEMBER 2008 Approval of the Graduate School of Social Sciences Prof. Dr. Sencer Ayata Director I certify that this thesis satisfies all the requirements as a thesis for the degree of Doctor of Philosophy. Prof. Dr. Kayhan Mutlu Head of Department This is to certify that we have read this thesis and that in our opinion it is fully adequate, in scope and quality, as a thesis for the degree of Doctor of Philosophy. Assoc. Prof. Dr. Erdo ğan Yıldırım Supervisor Examining Committee Members Prof. Dr. Hasan Ünal Nalbanto ğlu (METU,SOC) Assoc. Prof. Dr. Erdo ğan Yıldırım (METU, SOC) Assist. Prof. Dr. Nedim Karakayalı (B İLKENT,ADM) Assoc. Prof. Dr. Helga Rittersberger-Tılıç (METU, SOC) Assoc. Prof. Dr. Samet Ba ğçe (METU, PHIL) I hereby declare that all information in this document has been obtained and presented in accordance with academic rules and ethical conduct. I also declare that, as required by these rules and conduct, I have fully cited and referenced all material and results that are not original to this work. Name, Last Name: Koray De ğirmenci Signature: iii ABSTRACT TURKISH WORLD MUSIC: MULTIPLE FUSIONS AND AUTHENTICITIES Değirmenci, Koray PhD. The Department of Sociology Supervisor: Assoc. Prof. Dr. Erdoğan Yıldırım September 2008, 270 pages This dissertation investigates the case of world music in Turkey as an illustration of the discursive mechanisms involved in the production of a global cultural form from what the globality has defined as the ‘local’.
    [Show full text]
  • ETHNO Stories About World Music on the Internet
    BIBLIOTEKA XX VEK 157 (e) Editor Ivan Čolović Ivan Čolović ETHNO Stories about World Music on the Internet Translated from Serbo-Croatian by Vladimir Arandjelović Belgrade 2018 Original title: Etno. Priče o muzici sveta na Internetu Biblioteka XX vek, Belgrade, 2006 © Ivan Čolović Ivan Čolović (1938, Belgrade) has published a large number of essays and studies in the field of litera- ture, urban ethnology, ethnolinguistics and political anthropology. Some of his books have been trans- lated into German, English, French, Italian, Polish and Greek. He is a winner of the Herder Award (2000) and has been decorated with the French Legion of Honour (2001). Among recent works in English: Politics of Symbol in Serbia. Essays on Political Anthropology. Translation Celia Hawkes- worht, Hurst, London, 2002. "A Criminal-National Hero? Bit Who Else?", in: M. Todorova (editor), Balkan Identities. Nation and Memory. Hurst, London, 2004. "Priests of language: the nation, poetry and the cult of language", in: R. Bugarski and C. Hawkesworht (editors), Language in the former Yugoslav lands. Slavica, Bloomington, 2004. "Football, Hooligans and War in Ex-Yugoslavia", in: A. Fenner ansd Eric D. Weitz (editors), Fascism and Neofascism. Critical Writings on the Radical Right in Europe. Palgrave Macmillan, 2004. and The Balkans: The Terror of Culture. Essays in Plitical Anthropology. Translation V. Aranđelović. Nomos, Baden-Baden 2011. Cover by Ivan Mesner FOREWORD What prompted me to embark upon this internet cruise in search of stories about the world music was the proliferation of those stories in the Serbian media, which had begun in the mid-nineties of the Twentieth century.
    [Show full text]
  • Afrique Du Sud
    Le Parc de la Villette présente AFRIQUE DU SUD Danse, théâtre, musique Avec Robyn Orlin, Via Katlehong / Lindigo, Mpumelelo Paul Grootboom, Mahotella Queens et Hugh Masekela, Vusi Mahlasela, Eric Mouquet - Deep Forest "Football made in Africa", Johnny Clegg, Juke Box Live for Mandela sous la direction artistique de Cheik Tidiane Seck avec Amadou&Mariam, Manu Dibango, Toure Kunda… Du 11 au 30 mai 2010 A la Grande Halle de la Villette Renseignements pratiques Dates/horaires : voir sur chaque fiche de spectacle Tarifs : de 16 à 26 - Tarifs Abonnés de 11 à 20 - Villette jeunes (moins de 26 ans) de 10 à 20 - Carte Villette : 10 à 17 Accès : Grande Halle, Parc de la Villette - Métro Porte de Pantin Informations/Réservations : 01 40 03 75 75 et www.villette.com Contact Presse Bertrand Nogent - 01 40 03 75 74 - [email protected] Carole Polonsky - 01 40 03 75 23 - [email protected] Photos en téléchargement sur www.villette.com, rubrique Espace pro puis presse. Nom d'utilisateur : usrvil03str, mot de passe : gf42*nbg Paris le 6 février 2010 Communiqué de presse du 11 au 30 mai 2010, Cycle Afrique du Sud Danse, théâtre et musique Le 11 février 1990, Nelson Mandela est définitivement libéré, mettant fin à la clandestinité de l’ANC et accélérant le processus de sortie du régime d’apartheid que le pays subissait depuis des décennies. 20 ans après cet acte majeur de la vie politique internationale, comment les différentes communautés du pays vivent-elles et dans quel avenir se projettent-elles ? En 2010, l’Afrique du Sud est aussi le premier pays africain à organiser la coupe du monde de football, plus grand évènement planétaire après les jeux olympiques.
    [Show full text]